Mad Max Beyond Thunderdome (1985)
Directed by George Ogilvie
Mad Max becomes a pawn in a decadent oasis of a technological society, and when exiled, becomes the deliverer of a colony of children.
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What critics compared Mad Max Beyond Thunderdome to
Virtuoso direction might have helped Gladiator, but it wouldn't have saved it: It would still be a Rambo movie manqué, combining the worst of Cecil B. DeMille with the crudest elements of The Road Warrior (1981) and Mad Max Beyond Thunderdome (1985).
Mad Maximus jokes, in spite of how much Rome and the Colosseum look like excerpts from "Mad Max Beyond Thunderdome."
The other half is reminiscent of Mad Max Beyond Thunderdome , as Chul-min is forced to participate in gladiatorial battles against the undead.
Lower your expectations and this zombie adventure tale by way of “Mad Max Beyond Thunderdome,” AMC’s ‘The Walking Dead’ and countless videogames is entertaining enough, but its pretentious U.S. title of “Train to Busan Presents: Peninsula” promises more than it delivers.
It’s a staple archetype of power-mad, post-apocalypse military misogyny we’ve seen in the zombie genre a hundred times before, from Joseph Pilato’s tyrannical Captain Rhodes in Day of the Dead to Christopher Eccleston in 28 Days Later, but this time around there’s not even a basic attempt being made at a moral of man’s inhumanity to man—why bother, when you can start throwing prisoners into zombie pits to fight it out in the style of Mad Max Beyond Thunderdome?
K meets a tribe of child slaves, who paw him like the lost children from Mad Max Beyond Thunderdome, and an underground replicant group that appears just long enough to recall similar rebels in I, Robot and the Channel 4 series Humans.
With Alita—sourced from Yukito Kishiro’s beloved manga—he finds a confident and thrilling stride, balling up many reference points (The Matrix, Mad Max Beyond Thunderdome, Buffy the Vampire Slayer, Cameron’s Dark Angel TV series, and more) into something that feels fresh despite its obvious influences.
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In Fury Road, Miller doesn’t try to match when he accomplished there (and, in a slightly lesser form, at the end of 1985’s Mad Max Beyond Thunderdome), but instead tries to obliterate it from our memory by taking every aspect of the cinematic chase and ratcheting it up to the nth degree.
The not-so-secret aspect of “Fury Road” (love the sound of that title) that makes its dusty orange, sun-drenched nonstop-action so engaging and exciting is Miller’s bold decision to eschew (as much as possible) computer-generated-imagery in favor of the trusty old-school approach he famously used in the other films in the series (“Mad Max” 1979, “Mad Max: The Road Warrior” 1981, and “Mad Max Beyond Thunderdome” 1985).
We are, admittedly, a long way from the lean, unnerving outback fable of “Mad Max” (1979), and an even longer way from the weirdly arresting, kid-friendly detours of “Mad Max Beyond Thunderdome” (1985).
George Miller has been trying to follow up Mad Max Beyond Thunderdome for 30 years.
While Hardy handily takes the wheel from Mel Gibson, who played him in the debut as well as in 1981’s “Mad Max 2: The Road Warrior” and 1985’s “Mad Max Beyond Thunderdome,” it is the women who power “Fury Road.”
The title character and his postapocalyptic land was introduced in the Australian thriller “Mad Max” (1979), immortalized in the 1981 classic “The Road Warrior” and last seen in the underappreciated “Mad Max Beyond Thunderdome” (1985).
When it's not stealing from The Lord of the Rings, the script is busy referencing Star Wars and Mad Max Beyond Thunderdome, only with Vikings.
After much ado we eventually get on the road, and instead of following typical superhero formulas Logan bites off massive chunks from other movies like Children Of Men, Firestarter, True Grit, The Professional, Terminator 2, Alice In The Cities, The Outlaw Josey Wales, A Perfect World and hell, pretty much the entire cinema of Clint Eastwood until the last-half hour when it becomes a straight-up remake of Mad Max Beyond Thunderdome.
Logan is basically a long (nearly two and a half hours) and furious chase movie, like Terminator 2 with a dollop of Mad Max Beyond Thunderdome — the one where the allegedly hard-hearted Max ends up leading a bunch of wild children to safety.
“Logan” is plodding at times, and inconsistent — after all that R-movie carnage, the ending takes a softer “Mad Max Beyond Thunderdome” turn.
But Logan, directed and co-written by James Mangold (The Wolverine), more closely resembles George Miller’s third Mad Max offering, Mad Max Beyond Thunderdome, and its story of the wild and reckless loner saddled with children in a wasteland trek of battles, regret, and redemption.
He brings with it a particular Mad Max look and, truly, the film Logan most resembles is the third entry in that series, Mad Max Beyond Thunderdome .
This season draws heavily from Poltergeist and Mad Max Thunderdome, while getting back to the spirit of adventure.
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For example, Hanks plays -- in order: a nefarious doctor, a nerdy scientist, a hooligan-esque author, and a future shepherd with borderline schizophrenia who talks like the kids in Mad Max Beyond Thunderdome .
For my money, the “after the Fall” story works best, with its “Mad Max Beyond Thunderdome” feel and a coda pointing toward transcendence.
One day, the traveler happens upon a town - think "Bartertown" from "Mad Max Beyond Thunderdome", but with Gary Oldman instead of Tina Turner.
It's an action movie smashed together from the pulp of seemingly every post-apocalyptic flick ever made, from "The Omega Man" to "Mad Max Beyond Thunderdome" to "Children of Men," with Westerns and biblical epics thrown in for good measure.